Act I, Scenes 1-10

ACT I

SCENE 1

(Note 1: the opening sets(s) ‘resides’ in the skeleton of what later becomes the TOWN SQUARE – eg: the ROCK CLUB becomes the MEETING HOUSE, the DAY CARE CENTER, the CANDY STORE…etc. The set is a scene-within-a-scene kaleidoscope including, with shifts of lighting and emphasis, all locations.)

BRIAN, a young man in his early 20’s, is standing at the bar, signalling for beers.

He looks back over his shoulder at the crowd. SARAH, a pretty GIRL is looking back at him, smiling.

(Note: SARAH is played by the same actress who subsequently plays REBECCA. Wig, make-up, attitude shift her appearance.)

BRIAN salutes – mouth of beer bottle to forehead. She laughs.

BLACKOUT

LIGHTS UP ON

ROSE, a bizarre woman in her well-preserved late 60’s, with fake-red hair and too much lipstick punches BRIAN on the shoulder. She takes his beer and slugs it down. She peers at him over rhinestone glasses, purses her lips and rolls her eyes.

(Note: dialogue moves quickly, like a 40’s Noir flick.)

ROSE(sarcastically)

New girl?

BRIAN

What are you doing here?

ROSE

Keeping an eye on you.

BRIAN

And what do you see?

ROSE

Moonlight In Vermont…lover…

ROSE yanks up her bra and throws her head back like Mae West.

ROSE

I’m gonna powder my nose.

BRIAN

Missed you.

ROSE two-steps backwards, away from him and bumps an unsuspecting PATRON with a suggestive thrust of her hip, spilling his drink.

ROSE

Carumba!

BRIAN

Some things never change.

BLACKOUT

LIGHTS UP ON

A MARINE in dress uniform picks SARAH up in, spins her around and laughs.

On stage an amplifier blows, showering sparks over the moshpit, whipping them into a frenzy.

BRIAN bulldozes his way through the crowd.

BRIAN

Hey, Mighty Mouse, dude, she’s my girl.

The MARINE lets go of SARAH, grabs BRIAN by the lapel and punches him.

BRIAN takes the kid’s forearms in each hand. The MARINE screams – his flesh burns under BRIAN’S hands.

BLACKOUT

SARAH(in darkness)

You jealous son of a bitch! I was asking the kid about the war!

SPOTLIGHT ON

BRIAN alone, gasping, clutching his heart.

BLACKOUT

SCENE 2

INT. DAY-CARE CENTER – MORNING

(Note: The KIDS in the center are played by the same kids – thinly disguised – we meet later in Vermont.)

SARAH walks around, checking on kids who are finger-painting on big pieces of newsprint.

A BOY (later – ISAAC) is sitting at a piano and staring at the radiator. It hisses. He plays a few notes on the piano (the harmonica theme from “I WANT TO BE LOVED”). It is jarring against the “BROKEN HEART” bolero. He looks out the window.

SARAH takes a little GIRL (later – BETSY) in her arms and admires her artwork.

GIRL

It’s you and Brian when you get married.

BRIAN throws open the day care door, pushing in a bicycle. The BOY stops playing the piano, gets off the piano stool and goes to the radiator.

SARAH will not look at BRIAN.

SARAH

Thanks for knocking.

BRIAN, upset and out of breath, leans the bike against a standing blackboard and begins to write, furiously. His hand is bandaged. Bloodstains ooze through the gauze. He reads out loud as he writes.

BRIAN

“I’m pathetic. I’m sorry. I

(drawing a heart)

…love you.”

He tosses the chalk at the radiator. The BOY picks it up and looks at SARAH. She winks at him. The radiator immediately begins banging and knocking.

BRIAN

I want us back.

SARAH

You always do.

SARAH turns sharply, facing BRIAN head-on but standing away from him.

MUSIC: “BROKEN HEART” (SONG)

BRIAN & SARAH

THE HOUSE WE LIVE IN

THE WAY WE LAUGH

THE SOUND AND FURY

THE PHOTOGRAPH

SARAH

Loss can be liberating.

BRIAN

YOUR LOVE COMES IN

AND TAKES MY BREATH AWAY

BRIAN & SARAH

AND NOTHING’S REALLY CHANGED FOR ME

SINCE THAT FIRST DAY

INSERT: The little GIRL paints big red X’s across BRIAN’S face in her painting of BRIAN and SARAH.

BRIAN

AND ALL THE POETRY

THAT I HAVE READ

SARAH

AND ALL THE TALKING

LATE AT NIGHT IN BED

BRIAN & SARAH

LEADS TO A…

BROKEN HEART

I’M GIVING YOU ALL AWAY

I KNOW THAT SMILE ON YOUR FACE

IS NOT FOR ME

I’LL TAKE A BROKEN HEART

I’LL TAKE IT ANY DAY

I KNOW THAT LOVE IS ALL THERE IS

YOU’RE NEVER THAT FAR AWAY

SARAH

I hope someday you take a good look at yourself, Brian, and see how you affect people.

(baby talk)

…the boy that nobody understands.

BRIAN turns and looks out the window. He sees ROSE pushing a grocery cart. She gives BRIAN a cheery, rippling wave. He waves back, sadly.

BRIAN & REBECCA

YOU READ THE PAPER

I’M ON THE PHONE

WE HOLD HANDS IN THE CAR

YOU SING THE SONG

BRIAN

SOMETIMES I THINK IT’S JUST THE

SIMPLE THINGS

BRIAN & SARAH

THAT HOLD OUR LIVES TOGETHER

SINCE THAT FIRST DAY

BRIAN

AND ALL THE DREAMING

YOU AND I HAVE DONE

BRIAN raises his bandaged hand; palm forward, a ‘benediction’. SARAH moves towards him, like a robot. She is not moving of her own volition.

(Note: SARAH knows what is going on. She is terrified and can’t control herself.)

SARAH(backing away)

AND ALL THE VICTORIES

THAT WE HAVE WON

BRIAN & SARAH

LEAD TO A

BROKEN HEART

I’M GIVING YOU ALL AWAY

I KNOW THAT SMILE ON YOUR FACE

IS NOT FOR ME

I’LL TAKE A BROKEN HEART

I’LL TAKE IT ANY DAY

I KNOW THAT LOVE IS ALL THERE IS

YOU’RE NEVER THAT FAR AWAY

The little GIRL picks up her very wet finger painting and runs between SARAH and BRIAN.

GIRL

Leave her alone!

In rapid succession:

SARAH walks into the painting – the slimy colors smear her clothes. SARAH grabs the GIRL by the arm and shakes her violently.

ROSE’S head pops up over the ledge of the window. No one can see her. She is eating popcorn.

BRIAN’S arm shoots out from his side, rigid, like a piece of machinery. So does SARAH’S. Whatever motion BRIAN makes, so does SARAH. He opens his hand quickly. So does she, letting go of the GIRL, who crashes into a desk.

BRAIN grabs his rigid arm with his normal arm, aiming it away from SARAH. He knocks over the standing blackboard, which crashes, into the window, shattering the glass. ROSE ducks.

The rigid arm, back in control, aims at a ceiling light. The light explodes.

BLACKOUT

SARAH(in darkness, screaming)

What are you? Some kind of alien?!

BRIAN (simultaneously)

Get me outa here.

BRIAN

I’M LETTING GO OF EVERYTHING

I’M LETTING GO OF YOU

SPOTLIGHT ON

BRIAN riding – NIGHT. He wears headphones. We ‘hear’ what he hears.

MUSIC: “BROKEN HEART” (GUITAR SOLO)

Thunder and lightening. BRIAN is squinting, trying to see the road. Headlights from oncoming cars flash across his face.

BLACKOUT

LIGHTS UP ON

BIKE – MORNING

A HUMMINGBIRD with a bright red topknot hovers overhead, ‘staring’ at BRIAN.

BIRD (ROSE’S voice)

Snap out of it, kiddo! Wake up! The sun is shining!

The BIRD flies off. The first rays of sunlight hit BRIAN’S face.

At the side of the road, like Burma Shave ads, are seven signs. They read:

“THE KINGDOM…OF HEAVEN…IS AT HAND…ENTER THE HOUSE…

OF THE LORD…TURN RIGHT, THIS WAY”

MUSIC – HEADPHONES

BRIAN & SARAH

I’LL TAKE A BROKEN HEART

I’M GIVING YOU ALL AWAY

I KNOW THAT SMILE ON YOUR FACE

IS NOT FOR ME

I’LL TAKE A BROKEN HEART

I’LL TAKE IT ANY DAY

I KNOW THAT LOVE IS ALL THERE IS

YOU’RE NEVER THAT FAR AWAY

I’LL TAKE A BROKEN HEART, ETC.

ROSE’S VOICE(over music fade)

Well Toto, there’s no place like home.

She laughs.

BLACKOUT

SCENE 3

TOWN SQUARE – DAY

In the center of the square is a refurbished, two-story Victorian hotel. A covered porch surrounds the first floor. A Widow’s Walk is perched on the roof. Over the front door is a brand new sign, which reads: “KINGDOM HOUSE”.

To the left of the Kingdom House is a low, one-story building. On the roof is a simple steeple and bell. It has double doors in front painted blue, and a hand-painted sign, which reads: “MEETING HOUSE”.

To the right of the Kingdom House is a chicken shack. It has been converted into a store, and has it’s own pink and white sign, which reads: “CANDY STORE”.

In front of the Kingdom House, on sparse grass, is a roughly built pine platform. Rising up out of it is a tall, four-by-four post. Attached to iron rings on either side of the top of the post are long black leather straps.

BRIAN unloads the bike, unzips his fly and urinates in the tall grass next to the Candy Store. He zips up, crawls back to the pine platform and passes out.

ENTER

TUBBS, 55, a 60’s throwback hippie lunatic alcoholic in overalls and a fatigue jacket, peering at BRIAN. He is holding a shovel. He belches and tips back an empty bottle of whiskey.

TUBBS

Rain in Spain!

He heaves the empty bottle across the square, smashing it against the wall of the Kingdom House. BRIAN wakes up.

TUBBS

Welcome t’ Hell’s Little Acre, schport.

TUBBS laughs, raises the shovel with both hands over his head like weapon, sprints across the square, trips on a rock, somersaults and falls into a freshly dug hole in the ground.

ENTER

A DOE, a tuft of bright red fur between her ears, steps unsteadily into the open. She’s drunk. She looks at BRIAN and then at the hole.

TUBB’S filthy arm pops out of the hole with a fresh bottle of Wild Turkey. He pours some into a cupped hand. The DOE staggers over to him and drinks.

TUBBS

Nice dearie. We gonna help the kid?

(singing)

My funny Valentine…

The DOE blinks and burps and hobbles off into the woods at the edge of the square. BRIAN climbs out of the car.

BRIAN

Wait up. I ain’t oriented yet. Hey! Red!

The DOE disappears.

TUBBS lurches out of his pit and scatters debris (sticks, cardboard, dirt, grass, leaves, etc.) over the top of the hole, camouflaging a trap.

TUBBS

Trap me a preacher man, ain’t life sweet.

He jumps gingerly up and down on the trap to test it.

TUBBS

Pooh bah!

BRIAN rubs his eyes, shakes his head at TUBBS in disbelief. TUBBS suddenly looks up.

TUBBS

I know you. Braintree?…Brando?…Beazabubb?

The trap gives way a little.

TUBBS

Little Son O’ Sam come up here summers all self-centered, I remember. She said you was comin’. An’ that I was t’…

TUBBS scratches his head. The trap gives way completely and he falls through.

TUBBS(muffled)

…prepare.

BRIAN

What’s happened to this place?

TUBBS (from the hole)

This ol’ fleabag? Sugar Town? Sold it t’ the cult, dude. Lock stock n’ maple sugar barrel. Might as well cut my balls off good it done me.

BRIAN (yanking Tubbs out of the ‘trap’)

Sold who what?

TUBBS

Meantime ol’ Red she poop out on our partnership like a gasbag. N’ we was goin’ strong. Like pigeons in a pie.

BRIAN

Ya never did make much sense old man.

TUBBS

Who you callin’ old?

BRIAN smiles a ‘you got that right’ smile, gives TUBBS a big hug, turns and walks into the woods where the DOE disappeared.

TUBBS

You got hair down there now, I can see that.

SCENE 4

SUGARBUSH – DAY

A grove of maple trees dappled with sunlight. In the center, the tallest – the BIG TREE – contains in it’s uppermost branches a CROW’S NEST construction of twigs, scraps of colored rags, newspapers, leaves and tin cans.

(Note: The CROW’S NEST ‘doubles’ as the WIDOW’S WALK on the KINGDOM HOUSE. The BIG TREE is likewise ‘built’ into this same structure.)

Crouched on the edge of it is ISAAC, age 12. He’s dressed, head-to-toe in black hip-but-discarded rags. He snaps his fingers and winks. The sound echoes throughout the immense forest.

He digs out a pair of gigantic binoculars. Focuses.

ISAAC

I gotta be good.

He peeks down at REBECCA (formerly SARAH), age 20. She wears sunglasses and an immaculate white dress. She is asleep on a blanket in the middle of the Sugarbush.

ISAAC

Shhhh.

He looks again through the binoculars. Stops.

ISAAC

Uh oh. Somebody comin’ uphill! A new dude!

He nudges a boom box into place and switches it on, dances.

MUSIC: “GOTTA BE GOOD”

He lifts off the top of a straw basket, and dumps a knotted rope over the side. The tail end jerks to a stop a few feet off the ground.

ISAAC(rapping)

NO MATTER WHAT I DO

I JUST WANNA HAVE FUN

I WANNA STAY OUTSIDE

WANNA RUN AND RUN

AND PLAY WITH THE TREES

AND DANCE WITH THE SKY

He jumps overboard.

ISAAC

AND JUST GO CRAZY

SO I DON’T HAVE TO LIE

AND I KNOW IT’S BAD

He catches the rope like an acrobat. He shinnies and dances his way down.

ISAAC

AND I GOTTA BE GOOD

AND I TRY SO HARD

T’ DO WHAT I SHOULD

WHEN I’M FIXIN’ STUFF

WHEN I’M CLEANIN’ UP

WHEN I TIE MY SHOES

WHEN I FILL MY CUP

I NEVER GET IT RIGHT

IT JUST COME OUT ALL WRONG

WHEN I HURRY IT UP

IT TAKES TOO LONG

MAN, I GOTTA BE GOOD

I GOTTA BE GREAT

OR THAT OL’ JUDGE FLINT’S

GONNA WHUP ME AT THE STAKE!

UH HUH

THAT’S RIGHT

STAY COOL

BE NICE

While ISAAC is singing/dancing,

ENTER

BETSY, age 13, in a prim white pinafore, arriving with a pot of blue dye and a big paintbrush for marking trees. She aims for ISAAC’S Big Tree with great concentration.

ISAAC

I GOTTA BE GOOD

But I WANNA BE BAD

I GOTTA BE GOOD

BUT I WANNA BE BAD

I GOTTA BE GOOD

BUT I WANNA BE BAD

I GOTTA BE GOOD

BUT I WANNA BE BAD

WHAT I GONNA DO WHEN THE SKY IS FALLING?

WHAT I GONNA DO WHEN THE GRASS IS GREEN?

WHAT I GONNA DO IF THE VOICE IS CALLING?

WHAT I GONNA DO IF I WANNA SCREAM?

I GOTTA BE GOOD

But I WANNA BE BAD

I GOTTA BE GOOD

BUT I WANNA BE BAD

I GOTTA BE GOOD

BUT I WANNA BE BAD

I GOTTA BE GOOD

BUT I WANNA BE BAD

UN HUH

THAT’S RIGHT

STAY COOL

BE NICE

ISAAC, exhilarated and out of breath, is suspended, feet first, at the end of the rope, inches above BETSY’S head. She hasn’t seen him. Flailing madly, he lands on one end of a long stick. In the middle of the stick is rock. The other end is under BETSY’S starched white skirt.

The stick pops up, jerks BETSY’S skirt up with it and exposes her skinny white legs. The bucket of dye spills all over her. She screams and wakes REBECCA.

BETSY

My dress! Look at it! You ruined it!

She whips out a notebook-with-pen (which she wears like a quiver) and scribbles feverishly.

BETSY

Sin of Playing! Sin of Climbing! Sin of Scaring! One, two three!

ISAAC hides behind REBECCA.

BETSY

You’re going to get beat on for sure.

ISAAC

I didn’t do nothin’ bad, honest.

REBECCA

What are you two arguing about now?

BETSY

I’m reporting him. I’m telling the Judge. I caught him fair and square, that obnoxious little brat! He was…

She begins writing again.

BETSY

…straying from the Path.

REBECCA searches in her bag for something.

REBECCA

Betsy, darling?

BETSY

Playing is bad! He’s not supposed to climb the Big Tree and you know it and he should get beat on for it. You never report him. You protect him and tell him secrets and he’s your favorite!

REBECCA

We are all equal before God, little one.

BETSY

Yeah right.

ISAAC crawls over to BETSY on hands and knees.

ISAAC

I’m sorry. I’m really, really, really, really sorry.

BETSY

Don’t butter me up, you phoney.

She begins writing again.

BETSY

Sin of Fakery!

REBECCA

Hush girl.

(singsong)

I got maple sugar candy, from the store.

BETSY

That’s so obvious.

REBECCA

Some for Isaac. Some for you.

BETSY

Drop dead.

REBECCA

I won’t have you making a federal case of yourself in front of the Judge is all.

BETSY

Now you’re going to lecture me. I hate that. Everytime you talk that way you make me cry, and I hate crying. First you screw my mind up, and then you make me cry.

REBECCA

Isaac apologized, Betsy. You heard him.

BETSY accepts the candy.

BETSY

What about my dress.

REBECCA

As long as a person doesn’t mean to do bad, it isn’t bad. Don’t you see? Isaac would never intend to hurt anybody. Even you.

We hear the pulsating bass and conga rhythm of

MUSIC: “CITY GOT A BROKEN HEART” (INTRO)

BETSY

How come the Rules come out different when you say them?

REBECCA

It’s no different really. At least I don’t think so.

BETSY plops down on the blanket. REBECCA draws her close and gives her a hug. BETSY is crying. ISAAC’S face is full of hope.

ISAAC

Why can’t now be forever?

ENTER

MEMBERS of THE KINGDOM – a religious cult, all ages, all races. They are refugees from urban life. They are living in the country, but wear city clothes, ill suited to their environment. The men and boys wear black; the women – white. Some have facial scars, some limp; others have the exhausted expressions of recovered drug addicts and alcoholics. They carry buckets, hammers and spigots. Several also carry a giant Marker (a scarecrow made of straw and dressed in a heavy black overcoat and hat.

They ‘plant’ the marker near ISAAC’S big tree.

ENTER

JUDGE FLINT, 45, the charismatic leader of the KINGDOM. One of his legs is slightly shorter than the other, affecting his walk. He uses a cane. He is wearing a long black greatcoat, a red silk shirt with a string tie (knotted with a Crucifix) and a wide-brimmed black hat.

FLINT is a passionate powerful singer, in total control of himself and his flock.

FLINT

CITY GOT A BROKEN HEART

CITY GOT A BROKEN HEART

CITY GOT A BROKEN HEART

KINGDOM

AY OH, AY OH, AY OH, AY OH…

ENTER

The DOE, sweaty and sobered up. She watches the proceedings from behind a tree.

FLINT

LOOK AT THE CHILDREN

LOOK AT THE BUILDINGS

LOOK AT THE FIRES BURNING

LOOK AT THE PEOPLE CRYING

KINGDOM

AY OH, AY OH, AY OH, AY OH…

BETSY takes FLINT’S hand. The MEMBERS work, drilling holes in the blue-marked Maple trees and plugging them with spigots.

ISAAC sings “GOTTA BE GOOD”. He doesn’t need the radio. The driving rhythm of “CITY GOT A BROKEN HEART” supports his rap/singing.

ISAAC (rapping over the break before FLINT sings)

NO MATTER WHAT I DO

I JUST WANNA HAVE FUN

WANNA STAY OUTSIDE

WANNA RUN AND RUN

AND PLAY WITH THE TREES

AND DANCE WITH THE SKY

AND JUST GO CRAZY

SO I DON’T HAVE TO LIE

AND I KNOW IT’S BAD

AND I GOTTA BE GOOD

AND I TRY SO HARD

TO DO WHAT I SHOULD

WHEN I’M FIXING STUFF

WHEN I’M CLEANING UP

WHEN I TIE MY SHOES

WHEN I FILL MY CUP

During ISAAC’S rap, TOMMY, 19, belts an old man in the mouth. He seizes the guy by the throat and pins him to the ground.

BETSY

Tommy! Cut it out!

TOMMY sees BETSY and FLINT glowering at him. He lets the guy go, grabs a shovel and begins to dig furiously – a hole of no apparent use.

ENTER

BRIAN, silently at the edge of the Sugarbush. Nobody sees him.

FLINT

WHY DO WE FIGHT?

WHY DO WE FIGHT?

WHY DO WE FIGHT?

WHY DO WE FIGHT?

(Note: While FLINT sings this chorus, ISAAC sings, contrapuntally:)

ISAAC

I GOTTA BE GOOD

BUT I WANNA BE BAD

I GOTTA BE GOOD

BUT I WANNA BE BAD

FLINT

CITY GOT A BROKEN HEART

CITY GOT A BROKEN HEART

CITY GOT A BROKEN HEART

CITY GOT A BROKEN HEART

(Note: Again, while FLINT sings, ISAAC is joined by TOMMY)

ISAAC & TOMMY

WHAT I GONNA DO IF THE SKY IS FALLING?

WHAT I GONNA DO IF THE GRASS IS GREEN?

FLINT

LOOK AT THE CHILDREN

LOOK AT THE BUILDINGS

LOOK AT THE FIRES BURNING

LOOK AT THE PEOPLE CRYING

ISAAC & TOMMY

WHAT I GONNA DO IF THE VOICE IS CALLING?

WHAT I GONNA DO IF I WANNA SCREAM?

They scream and join with FLINT and the MEMBERS, infected by the excitement. The three leads, FLINT, ISAAC and TOMMY seem to enjoy each other and get off on their singing.

BRIAN, from behind a tree, enthralled, is caught up in the song, surreptitiously adding his voice.

FLINT, ISAAC, TOMMY & BRIAN

WHAT WE GONNA DO? AH!

KINGDOM

OO OO OO…!

FLINT, ISAAC, TOMMY & BRIAN

WHAT WE GONNA DO? AH!

KINGDOM

OO OO OO…!

FLINT, ISAAC, TOMMY & BRIAN

WHAT WE GONNA DO? AH!

KINGDOM

OO OO OO…!

FLINT, ISAAC, TOMMY & BRIAN

WHAT WE GONNA DO? AH!

KINGDOM

OO OO OO…!

FLINT, ISAAC, TOMMY & BRIAN

WHAT WE GONNA DO? AH!AH! AH!

The music stops. The congas fade.

FLINT looks at REBECCA who is babysitting the children too young to help out. One BOY with a bruise on his shoulder holds a wounded field mouse up to REBECCA’S cheek. REBECCA pats it with her thumb.

BETSY runs over and snatches it out of the BOY’S hands. She hurries it over to FLINT.

FLINT (patting her head)

A gracious offering and sacrifice, sister Betsy.

BETSY

Death gives life?

FLINT

Death…as you know…

BETSY(to herself)

My poor Mama.

He calmly breaks its neck and tosses the body casually at the foot of the new Marker.

FLINT

…is life.

He crosses himself and mutters a prayer. BETSY imitates him.

FLINT waves to SHIRRONDA, 40 years old, a former prostitute (extra jewellery and lipstick). She can’t get her tap into a tree. It is obvious that she has no idea what she is doing.

FLINT (helping her)

A firmer grip, sister, will…

(hammering it home with a grunt)

…bring your ship into port.

SHIRRONDA

Bless you, father.

FLINT, moving near REBECCA, touches her shoulder. She starts. He squats and hugs her.

BETSY watches them. She knots up her face in disgust/jealousy. She sticks her tongue out at ISAAC. ISAAC pulls the corners of his mouth with his fingers and bugs out his eyes.

FLINT(standing, arms outspread)

Let us pray.

The Kingdom drops to their knees in unison and chant. The congas rumble. Their eyes are shut, their arms upraised. FLINT takes one last look at REBECCA and bows his head. ISAAC is the first to see BRIAN.

ISAAC

Hey Mister! You’re the dude I seen! Look Judge! This guy come up on a bike! I seen him from the tree!

Or a small log cabin? It’s supposed to be up here somewhere, top of Maple Mountain?

FLINT

Can’t you see, young man? The girl is blind.

The MEMBERS start murmuring again. The congas start up, quietly.

BRIAN

Wow! No I…I’m so sorry.

REBECCA

I’m used to it.

BRIAN

I wish I could get used to the darkness in my life.

REBECCA

Without darkness there is no light.

FLINT

Are you alone?

BRIAN

I’m always alone. Even when I’m not.

FLINT

Our Kingdom provides patience and prayer for the disappointed.

REBECCA

For those who don’t fit in anywhere else.

ALL(rote)

A PERFECT AND HOLY VISION OF THE FUTURE.

ISAAC

I know where the cabin is. But it’s weird up there. They says a crazy…

FLINT

Just follow your olfactory nerves, young man. Sniff your way up the mountain.

There is a titter of obedient laughter from the MEMBERS. BETSY laughs loudest.

BRIAN turns. His expression is dark. His head cocks towards FLINT who has a violent coughing fit.

REBECCA

Father? Are you alright?

FLINT

These trees…

(cough)

…can be your friends as they have been…

(cough)

…ours.

ISAAC

Just keep following uphill, like a coon-dog. You’ll see it, clear as water, just on top, but don’t…

REBECCA covers ISAAC’S mouth with her hand.

FLINT(still coughing)

Just follow the…

BRIAN releases his control.

BRIAN

Sounds fine to me.

He stands up, walks backwards and trips over a stump.

FLINT(recovering)

God be with you.

ISAAC

I’ll run ya up.

BETSY

Stop kissing his butt.

BRAIN looks at REBECCA. She enters a trance. He mouths the words she says just before she says them.

REBECCA (evenly)

Yes, little brother, you go ahead. It’s Christian to be neighbourly.

FLINT

Sister Rebecca!

REBECCA shakes off BRIAN’S spell.

REBECCA

Forgive me, Father.

BRIAN(under his breath)

She knows not what she does.

FLINT

What’d you say, boy?

BRIAN notices the DOE quietly moving up the path, undetected by the Kingdom. The DOE stops, winks at BRIAN, and shakes her tail.

BRIAN

What’s up with you guys? You ain’t exactly Falwell material. You seem busted up, broken in some way that…

ISAAC(happily)

We follow the Path. We follow Sweet Jesus.

ISAAC &REBECCA

We follow the Lord.

ALL(quickly)

WE LIVE IN A PERFECT AND HOLY VISION OF THE FUTURE.

BRIAN

OK.

REBECCA

It’s not merely ‘OK’. It’s a matter of life and death.

FLINT

In a world unsafe.

ALL

OUR WORLD MADE SAFE.

The DOE flies off into the deep woods. BRIAN salutes and follows after her with ISAAC at his heels.

FLINT(to BETSY)

I see you spoiled your favorite pinafore my pretty one.

BETSY

Rebecca told me not to say nothing.

FLINT

Is that so?

BETSY

He was bad and she protects him.

FLINT

I appreciate your report.

He kisses his finger and touches her forehead. She winces, then recovers with a big smile as if to say ‘oh, that funny ol’ Judge…’ He pats her fanny and laughs – his big Paul Bunyan laugh.

FLINT

My flock. Let us return to the business at hand.

ALL

AMEN.

The congas throb in earnest. The MEMBERS begin chanting and go back to work.

FLINT

He pleases you, Rebecca?

REBECCA

Not in the least.

She takes off her sunglasses and shakes out her hair. A beam of sunlight, streaming through the trees, falls directly on her face. FLINT gazes at her.

BETSY(tugging at his sleeve)

Psst! Reverend. We gotta talk. In private.

FLINT continues staring at REBECCA.

BETSY

He climbed the Rope. He was Playing!

Holding up the notepad.

Everything!

SCENE 5

MOUNTAINTOP CLEARING – EVENING

On one side of the clearing is a cliff that falls away into the hills and valleys of Vermont. In the center is a round ROCK (‘doubling’ as the WHIPPING POST in the TOWN SQUARE), the size of an armchair. Beyond the rock is ROSE’S CABIN (‘doubling’ as the MEETING HOUSE).

We hear BRIAN running as fast as he can. We hear his heartbeat pumping furiously.

Suddenly he breaks out of the woods and collapses on the ground.

ENTER

BRIAN

I can’t believe it. Up to my dirty tricks. Same story, different faces.

ENTER

ISAAC at the edge of the clearing the woods. He is signalling frantically, both arms flailing.

ISAAC

Psst! There’s a witch up there, I swear!

BRIAN

Huh? Oh it’s you, kid. Look…I’ll be fine. I will. You run along.

ISAAC

But…

BRIAN raises one weary hand (the bandages are nearly gone). ISAAC nods slowly – under the spell. He turns and runs downhill.

MUSIC: “I LOVE MYSELF”

BRIAN stands and walks to ROSE’s cabin – CUT AWAY to reveal:

an interior wonderfully lit and decorated – Japanese lanterns, candles, neon-sculpture, Christmas lights – a blinding effect. There is one bed, one bureau, one rug, one table, and a lot of bizarre junk – statuary, mirrors, Egyptian artifacts, etc.

and ROSE made up like a Geisha. It is not a perfect job. She’s wearing an absurd, over-sized, black-lacquered wig and headdress. She is dancing with a pretty SAMURAI BOY outfitted in full battle armor.

A lot of wild light floods out of a single window next to the front door. The light is composed of many colors and refractions. In fact, the entire cabin appears to be trembling, ever so slightly, with light and vibration.

He creeps up and looks in the window. The light on his face is dazzling.

(Note: ROSE is harmonizing with the SAMURAI BOY, but the voice coming out of his mouth is hers.)

ROSE & SAMURAI BOY

I LEARNED A SECRET

ABOUT THE DARK NIGHT

OF THE SOUL

WHEN I’M SCARED

AND FEELING LONELY

I LOOK IN THE MIRROR

AND KNOW

They foxtrot. They tango. She is wearing precariously high heels that wobble a lot, but she is having a terrific time.

ROSE & SAMURAI BOY

I SAID HEY! HEY!

I LOVE MYSELF

I LOVE MYSELF

HA! HA!

I LOVE MYSELF

I LOVE MYSELF

The lids of teapots and coo-coo clocks bang and pop in time with the music.

ROSE & SAMURAI BOY

HEY! HEY!

I LOVE MYSELF

I LOVE MYSELF

HA! HA!

I LOVE MYSELF

I LOVE MYSELF

OOOO!

ROSE laughs uproariously. She clasps her hands under her breasts, like an opera singer. She catches the BOY and bands him back over arm just like Fred and Ginger.

ROSE and the BOY leap and prance. Suddenly there’s a loud knock on the door. ROSE snaps her fingers and the music stops – all motion freezes.

BRIAN knocks again.

BRIAN

You finished up in there?

(rattling the latch)

BRIAN

Open the door, damn it!

Suddenly the door glides open on a creaking hinge. ROSE and the BOY are kissing passionately, three feet off the ground.

ROSE(schmooch muffled)

I love myself…I…Hey! Who?

The two of them hover in mid-air like characters in a Roadrunner cartoon. They fall. The wig flies off. We recognize ROSE’S bright fake-red hair. A string of Japanese lanterns tumbles on top of them.

ROSE gets up and dusts off her behind. The BOY, ashamed, averts his eyes. BRIAN steps into the cabin, closes the door and leans against it.

BRIAN

Hey Red. Is that you in the Geisha getup?

ROSE(mimicking him)

Hey Re-ed? Is that youuu? Of course it’s me, you idiot! Who’d you think it was? Lucille Bawwwwl?

She jabs him in the solar plexus with her forefinger.

ROSE

Nice finger-painting party for sweetie-poo, huh?

BRIAN

I don’t want to talk about it.

ROSE(slyly)

Shall I turn you into something? Like the old days? A bear? A goose?

(lewdly)

A girl?

BRIAN

Don’t start in on me, Red. I’m not in the mood.

She slaps him across the face.

ROSE

Get over yourself.

(tearing off her costume, reveling in her mood)

It makes me sick! It’s all about you. Like the whole planet should open up its legs.

She glowers at him, storming about, setting things right. She snaps her fingers absent-mindedly. (She does this a lot.)

SNAP! The SAMYURAI BOY hops into an open steamer trunk at the foot of her bed, pulls the lid shut and disappears. SNAP! The lanterns blink off. SNAP! Allthe lights go out except for one kerosene lamp on the table.

BRIAN

Tell you the truth, I feel like I’m running outa time. Or time’s running out on me.

ROSE sits on her bed.

ROSE

Tell us all about it.

BRIAN

I just don’t get it… It’s not that I don’t have a life. I do. I have a bike. I’m ok lookin’. I get girlfriends. I even sort of appreciate the whole wild ride. But I’m not right…

(pointing to his heart)

…in here.

ROSE

Like we didn’t see that coming.

BRIAN

You gotta fix me, Red. You’re the only one. If I don’t get a handle on this…Voo Doo you gave me…

ROSE

It ain’t Voo Doo, girlfriend.

BRIAN grabs ROSE by her upper arms.

BRIAN

All it’s done for me is hurt people. People I care about, people I even sometimes…

ROSE hugs him. He looks in her eyes.

ROSE

Love?

BRIAN

All I really wanna do is be with somebody and be myself without scaring the heart out of everybody. The worst part isn’t that I can’t control myself, but that I don’t. Soon as I come up here I meet this Kingdom something or other…

ROSE

Piece of work, ain’t they?

BRIAN

…group of use-t-bes and guess what? It starts all over: the manipulation, the showing-off, the whole pathetic parade.

ROSE snaps her fingers and freezes BRIAN in mid-sentence.

ROSE

I got just the ticket.

She overturns lamps, books, dishes. She rips her bed apart. She knocks over a side table. SNAP! She lunges for a pot of geraniums. She grabs the flowers by the stems and smashes the pot on the floor. It shatters. She scratches at the dirt impatiently.

ROSE

Where did I put the damn thing?

ENTER

TUBBS (singing sarcastically)

I looove myself

I loooooove myself…

ROSE

Tubbs! My God. I gave it to Tubbs!

TUBBS

Rosaleee?

ROSE

What was I thinking?

TUBBS(at the door)

Are you decent in there you old curled-up piece of liver?

ROSE is flapping her arms hysterically.

TUBBS(lasciviously)

You got that teenager in there with you, Red?

The latch rattles. ROSE is still flapping about, trying to ‘do magic’.

Finally, with a SNAP! she ‘invisiblizes’ herself – ‘becoming’ the chubby pink teapot on the table. She holds it in front of her like a silly piece of camouflage. But it works. Neither TUBBS nor BRIAN can see her.

BRIAN, unfreezing, with exaggerated grace, opens the door.

TUBBS careens into the room and crashing into the table. He recovers his dignity and takes a suspicious squint at the teapot.

TUBBS

They says you a witch. My goatee! ‘S ‘bout as big a load o’ horse pie ‘s you can buy! Lucy In The Sky!

TUBBS(belching)

You’re Brian, ain’t ya? The summer kid. Figured it out all by myself.

TUBBS grabs BRIAN affectionately by the hair and gives him a yank.

TUBBS

You ain’t no fairy, are ya?

BRIAN

Wouldn’t you like to know.

TUBBS squints at BRIAN, shrugs and searches his pockets for a bottle of whiskey.

TUBBS produces a half-filled pint of Wild Turkey.

TUBBS

How’s about a toast t’ ol’ Rosalee?

BRIAN

Be my guest.

TUBBS takes a long draught and wipes his mouth on his sleeve.

TUBBS

Things ain’t been the same round here since my affectionate schwan, decided to close me out. Frittered the Sugarbush off to that Bible-pounding fakir n’ them dead again Christians. Wouldn’t ya know it, fust time I make a money deal, it land me in the toilet!

He smacks the bottle on the table and slips a brown paper package out of his jacket. He pets it covetously.

BRIAN

What you got there, pal? Dead rat?

TUBBS

She told me to give it to ya. Didn’t trust herself with it. So I keppit safe, away from them clam diggers.

TUBBS jumps up and whirls around.

TUBBS

Gotcha!

ROSE-as-teapot scoots across the table like a hockey puck, knocking the Wild Turkey to the floor, startling TUBBS.

The package pops into the air, but he catches it before it hits the floor.

TUBBS

Woman’s a virus.

Crouching, he tries to salvage the booze, which has spilled all over the floor.

TUBBS

C’mon kid. Hep me.

TUBBS slips a plastic straw out of a pocket and siphons the puddle into his mouth. He holds the package out to BRIAN.

TUBBS(slurping)

Open up.

BRIAN takes the package reverently. He looks at the teapot.

TUBBS

What are you waiting for?

BRIAN

I just wasn’t sure if this was the ideal time. I mean I’d like to, Mr. Tubbs. I would. But if I did, right away, your affectionate swan might show up and be a big pain in the neck.

TUBBS

Lookit here. I ain’t stupid. You jes want to hog it for yoursef. Now you open up and let me in on it. I hid out for months without so much as a squint.

BRIAN turns his back and loosens the string bindings. The paper falls off easily. TUBBS sidles up behind him and peers over his shoulder.

BRIAN unwraps a beautiful, golden harmonica.

The sound of a million crickets swells outside.

BRIAN

Must be as old as God.

TUBBS

That ol’ mouth organ?

BRIAN reads an inscription.

BRIAN

“FOR THE PURE OF HEART.”

TUBBS

What’s that supposed t’ mean?

BRIAN

It means I won’t be playing it.

TUBBS

Sword in the stone! Play that bone! Play ‘Moon River’. Play ‘White Rabbit’.

A focused jet of steam, like a ray gun blast, shoots out of the teapot. It strikes TUBBS on the back of his head and freezes his arms and body, stiff as a statue, in a whoop-it-up position.

ROSE ‘reappears’ – a genii out of a bottle.

ROSE

‘White Rabbit’?!

BRIAN struggles with the harp, trying to play. He produces a pathetic little toot.

ROSE

Do you understand what it says?

BRIAN

Does it look like I do?

ROSE

It’s a cinch. To be pure of heart means you have to do for others.

The chirruping of crickets swells up.

ROSE

You can’t just go ahead and expect everything to fall into place. And you can’t love anybody proper until you learn to see the world through their eyes. It’s not about you, Brian. It’s about them. About knowing what they lost. That’s what makes them same as you. And you don’t know it yet, but you got a heart that can ‘see’. Just stand there, kid, in the Light, before their souls and open your eyes… Your heart’s been one-sided. That’s why you messed with that day care chick.

BRIAN

You’re sure about this?

She nods at the harmonica.

ROSE

This will help. I invented it. Play it. Make it sing. Go on.

BRIAN

I can’t.

ROSE

You’re just scared. Take a breath. Let the thing play itself. You do that; you’ll do right by everybody.

ROSE’S fingers are crossed behind her back.

BRIAN

Why does everything have to be so complicated?

She shrugs. He tries. The sound is horrible.

ROSE

Don’t give up, dearie. Not now.

He tries again – a couple of false notes. His hands are trembling.

MUSIC: “I WANT TO BE LOVED”

All the lanterns and Christmas lights and candles simultaneously blink on. BRIAN steps past the still-frozen TUBBS, out the door and into the clearing.

BRIAN

I REACH FOR STARS

I HOLD ‘EM DOWN

I PAINT THE FOREST

FLY AROUND

WHERE NOBODY GOES

AND NOBODY KNOWS

I GOT THE MAGIC

IN MY HAND

I’M MAKING SILVER

OUTA SAND

I’M A HUNDRED YEARS OLD

GOT A HOLE IN MY SOLE

AND WHEN THE NIGHT

COMES POURING DOWN

I RIDE MY EAGLE INTO TOWN

OH I JUST STARE

I DON’T BELONG THERE

Again he tries to play. He’s still in awe of it, but less afraid.

BRIAN

I’M STILL A BOY

I’M CHASING YOU

I HAVE A DREAM

I’M GOING TO

BEWARE OF MY LOVE

WHAT I AM MADE OF

YOU THINK OF ME AS

JUST A KID

CAN’T HEAR THE VOICES

IN MY HEAD

OH WHAT HAVE I DONE?

I AM SCARED OF THE SUN

I WANT I WANT I WANT I WANT

TO BE LOVED

He begins to play quite beautifully. ROSE, coming into the clearing, becomes visibly younger.

TUBBS, unfrozen, appears beside her as a handsome young man, a vintage Woodstock hippie. He and ROSE beam at one another. They waltz together as fireflies blink around them.

When BRIAN stops playing, ROSE and TUBBS return to their present age and appearance. TUBBS freezes back to his his original wild position.

BRIAN

CAN YOU BELIEVE

I WANT TO CHANGE

I’M GONNA LEAVE

THIS MOUNTAIN RANGE

I GOT YOU INSIDE

YOUR FACE IS ALL BRIGHT

CUZ ALL I REALLY WANNA DO

IS SPEND ONE HUMAN NIGHT

WITH YOU

WITH MY DARKNESS BEHIND

I WILL TRY TO BE KIND

I WANT I WANT I WANT

TO BE LOVED

He plays the harp once more. This time it’s perfect.

ROSE

Not bad. Not bad at all.

(sighs)

I need a nap, dearie. You had your first lesson, on the house.

ROSE pats the frozen TUBBS on the head, smiles, steps into her cabin, closes the door, snaps her fingers and puts out all the lights. TUBBS comes to. He shivers and is disoriented.

TUBBS

Tubbs like rubber. Rub a dub dub dub.

BRIAN pockets the harmonica. TUBBS squats and farts.

TUBBS

One for the Gipper!

SCENE 6

TOWN SQUARE – EVENING

int. meeting house (CUT AWAY)

A simple room with pine benches and bare, whitewashed walls. Above a plain altar is a Crucifix. The Christ figure is entwined with roses. The altar is covered with them. The effect is disturbing, as if the roses were blood.

The MEMBERS sit patiently. FLINT stands behind the dais, perspiring. He pats his face with a red silk handkerchief.

MUSIC: “HEAVEN N HELL”

FLINT

OH LORD

SHOW ME THE WAY

KEEP EVIL FROM ME

DON’T LEAD ME ASTRAY

ALL

HEAVEN N HELL

THEY GONNA FIGHT OVER YOU

TEAR YOU APART

SO YOU DON’T KNOW WHAT TO DO

FLINT

GET DOWN ON YOUR KNEES

TELL YOUR STORY

LET YOURSELF GO

GET THE GLORY!

ALL

HEAVEN N HELL

COME ON WHAT DO YOU WANT?

TO DIE IN THE GUTTER

OR TO RAISE YOURSELF UP?

FLINT

GET DOWN ON YOUR KNEES

SING YOUR HEART OUT

TRUTH WILL SET YOU FREE

LET THEM ME HEAR YOU SHOUT IT

SHIRRONDA

I WENT DOWN TO THE BARN

THE HAY WAS SWEET AND WARM

I LAY DOWN IN THE HAY

AND I SHUT THE DOOR

REBECCA seems distracted. ISAAC, sitting beside her, looks at her warily as he wails on his harp.

SHIRRONDA

A BOY HE SIT BESIDE ME

AND HE PLAY WITH MY DRESS

SHIRRONDA& REBECCA

(Note: REBECCA is remote, marking the song, not her lively self)

I CLOSE BOTH MY EYES

AND HE DID THE REST

As REBECCA sings, FLINT watches her. ISAAC tugs at her sleeve. She snaps out of it.

ALL

HEAVEN N HELL

THEY GONNA FIGHT OVER YOU

TEAR YOU APART

SO YOU DON’T KNOW WHAT TO DO

FLINT

GET DOWN ON YOUR KNEES

SING YOUR HEART OUT

TRUTH MAKE YOU FREE

LET ME HEAR YOU SHOUT IT

TOMMY

MY DADDY LOST HIS MONEY

IN A CARD GAME COME HOME DRINKIN’

I GET SO MAD I LOSE MY HEAD

I GUESS I WASN’T THINKING

I BUST MY DADDY IN THE FACE

POOR MAMA SHE WAS SCREAMING

TELL ME AM I CRAZY, LORD

WHAT IS THIS PAIN I’M FEELIN’?

REBECCA stands up suddenly, out of the blue. ISAAC yanks her back down.

ALL

HEAVEN N HELL

THEY GONNA FIGHT OVER YOU

TEAR YOU APART

SO YOU DON’T KNOW WHAT TO DO

HEAVEN N HELL

COME ON WHAT DO YOU WANT?

TO DIE IN THE GUTTER

OR TO RAISE YOURSELF UP?

ALL (except FLINT)

HEAVEN

OH OH OH HEAVEN…etc.

FLINT

So today let us all praise the brothers and sisters who have come forward in humility, to share their sins and ask forgiveness. This is a small, clean, new world we have built – all the way up here in the country. A good world. A free world. Safe from the scourges of the city life. Save from the sabotage of the streets.

ALL

HEAVEN N HELL

THEY GONNA FIGHT OVER YOU

TEAR YOU APART

SO YOU DON’T KNOW WHAT TO DO

FLINT

So my friends, my beloved, we have left all that behind. And today, today, here before God…

MARIE

KEPT MY LITTLE GIRL AT HOME

I NEVER GAVE HER NUTHIN’

SHE NEVER SEEN A MOVIE

OR A DANCE OR CATCH A BOYFRIEND

YESTERDAY SHE RUN OFF

GET A BUS TO CINCINATTI

LOST HER OUTA JEALOUSY

I HATE HOW SHE’S SO PRETTY

ALL

HEAVEN

OH OH OH HEAVEN…etc.

Over the music we hear a solo harmonica. So does REBECCA. It’s not being played by anyone in the Meeting House. No one but REBECCA can hear it.

FLINT

My friends. Do not be disturbed in your regard for truth. When what you disclose is the heart of the matter, the heat of the moment, the height of perfection.

ALL

HEAVEN N HELL

THEY GONNA FIGHT OVER YOU

TEAR YOU APART

SO YOU DON’T KNOW WHAT TO DO

HEAVEN N HELL

COME ON WHAT DO YOU WANT?

TO DIE IN THE GUTTER

OR TO RAISE YOURSELF UP?

ETC…

While FLINT speaks, REBECCA stands. ISAAC tries to stop her. What she is doing is dangerous. No one ever leaves Meeting. But she is going to walk out, no matter what.

FLINT, in ecstasy, fails to notice.

FLINT

And it is here, here that we rise above the temptation of the flesh, the preoccupation with passion. Rise above and choose…

ISAAC (loud whisper)

No Rebecca! Don’t do this! Come back here!

She stumbles. She is in a trance. She bumps into a wall. She falters against a pew. ISAAC runs after her. He tosses his harp to EMMANUEL who catches it and plays, keeping things going.

FLINT

…in our Righteousness, in our Godliness, in the discipline of action and the action of discipline, choose God, choose Jesus, choose the Kingdom and the Glory and Heaven down here on earth! Etc…

ALL

HEAVEN N HELL

THEY GONNA FIGHT OVER YOU

TEAR YOU APART

SO YOU DON’T KNOW WHAT TO DO

HEAVEN N HELL

COME ON WHAT DO YOU WANT?

TO DIE IN THE GUTTER

OR TO RAISE YOURSELF UP?

REBECCA, feeling her way, steps out the door of the Meeting House. ISAAC, rushing around in front of her, tries to push her back inside.

REBECCA

Can you hear it?

ISAAC

Hear what?

The alien harmonica stops.

ALL

HEAVEN N HELL

THEY GONNA FIGHT OVER YOU

OH OH OH HEAVEN…

REBECCA

It stopped.

ISAAC cocks his head. He takes her hand.

ISAAC

You’re creepin’ me out.

She shakes her head.

ISAAC

C’mere.

He takes her hands. They dance awkwardly in a slow circle. FLINT shadow falls across the door of the Meeting House.

FLINT

Rebecca?

She turns.

BLACKOUT

SCENE 7

IN DARKNESS

BRIAN

How about you and I pay a visit to the ‘brotherhood’ tonight? I won’t make trouble. I promise.

TUBBS

Young man…

(lighting a match and illuminating their faces)

…what you need is trouble. That where it at!

(muted shout)

Hey, fanatical biblicals – on your knees!

(stage whisper)

SHOVE IT UP YOUR OL’ STOVEPIPE!!!

TUBBS lights a pipe. He inhales and passes it to BRIAN. They look at each other in that intimate weed way.

BRIAN

I think I’m beginning to…

(sucking it in, talking through a held breath)

…like somebody.

TUBBS

She’s…

(coughing fit)

…accounted for.

BRIAN is stoned.

BRIAN

Explain.

TUBBS(exhaling)

Wrap your balls around this:

(coughing)

…Big Daddy and her man is…

(sneezing)

…the same person. Can you handle that?

BRIAN

Get outa town.

TUBBS

It get worse. Her Daddy is…

TUBBS sucks in another big hit, holding it in.

He is about to speak when he suddenly puts a finger to his lips. He and BRIAN warily turn their heads and look behind them.

Just above and to one side of the tree is a Marker. Its sudden appearance makes it seem as though it had followed them there and that it had been listening to their conversation.

SCENE 8

TOWN SQUARE – NIGHT

A bonfire illuminates the Square, reflecting light on the MEMBERS as they mill about.

MARIE, age 55, fat and pretty, is playing acoustic guitar with SHIRRONDA. They take it seriously. Some MEMBERS nearby dance eurythmically.

A crowd of kids watch ISAAC dance. REBECCA is braiding BETSY’S hair. EMMANUEL, elderly, is with an older group. He is playing harmonica in compliment to MARIE and SHIRRONDA.

ENTER

BRIAN and TUBBS stumbling into the glow of the bonfire, giggling.

ISAAC

Hey guys!

He scurries over to a secret place underneath the front porch of the Kingdom House and pulls out a paper bag. He looks inside, looks up and winks at TUBBS. BETSY takes notice.

ISSAC skips over towards TUBBS and bumps into FLINT. The package is knocked out of his hands. ISAAC picks it up and hides it behind his back. FLINT, watching BRIAN, misses the whole thing.

ISAAC

Sorry sir. Go with God.

FLINT

Amen, little brother.

ISAAC jumps into TUBBS’S arms, happy to see him.

ISAAC(whispering)

You chill?

Hands him the bag.

TUBBS

What a considerate young man. Yes, yes, yes.

He reaches into the bag, uncorks the bottle and takes a long obvious swig.

BETSY, extricated from REBECCA, has stationed herself on the porch of the Candy Store. Seeing the exchange, she sits down with a thump, mouth agape.

BRIAN is way stoned and unabashedly staring at REBECCA.

SHIRRONDA

Say Judge…

FLINT

Yes?

SHIRRONDA

Could you perhaps perform some of your old-fashioned ballroom dancing?

FLINT

Why sister Shirronda, I haven’t danced in years.

SHIRRONDA

Yes sir. Last harvest. Remember?

The MEMBERS quiet down, picking up on the conversation. FLINT enjoys the ritual.

FLINT (coyly)

I shall need a partner.

BRIAN plays the lead melody to “TALK TO ME” on his harp. REBECCA cocks her head. BRIAN pockets the harmonica. ISAAC runs over and takes REBECCA’S hand.

ISAAC

Rebecca! You dance! You do it!

REBECCA

Don’t be silly.

ISAAC

You can! I seen you!

MARIE

Oh please, Rebecca honey? It would be lovely.

EMMANUEL

It would be a joy.

TOMMY

You all make me sick.

TUBBS takes a belt out of the bagged bottle.

TUBBS

I’d agree with that.

Encouraged by all, REBECCA stands and ISAAC leads her to the center of the gathering circle. He presents her, bowing, to the JUDGE.

ISAAC

Here she is, sir.

BETSY makes a face. FLINT bows deeply. At first, without music, they dance. REBECCA moves awkwardly, but not without appeal.

EMMANUEL

She may not be able to see, but the Good Lord gave her courage.

MUSIC: “TALK TO ME”

As FLINT and REBECCA begin dance we notice that for FLINT something a bit more erotic than ballroom dancing is going on. REBECCA is simply having fun.

Her face is turned towards BRIAN as if she can ‘see’ him. She is dancing with FLINT, but she is looking at BRIAN.

REBECCA

I’M RIGHT HERE

AND I CAN’T STOP

LOOKING AT YOU

FLINT

I WANT YOU TALKING TO ME

DON’T WANT YOU LOOKING AT HIM

MEMBERS

TALK TO ME…ETC.

REBECCA(to BRIAN)

WHY DON’T YOU TALK TO ME?

BRIAN

I WANT YOU TALKING TO ME

DON’T WANT YOU LOOKING AT HIM

BRIAN moves closer, to cut in. He hesitates.

REBECCA(to FLINT)

WHY DON’T YOU TALK TO ME?

BRIAN

ALL I WANNA DO IS ASK YOU

REBECCA

IF YOU FEEL THE SAME AS I DO

FLINT disengages from REBECCA. No one is dancing with anybody, although it is clear who wants to be with whom. TUBBS taps ISAAC’S shoulder. He bows. They do a do-si-do, high five. They mouth the lyrics and laugh.

REBECCA

I’M RIGHT HERE

AND I CAN’T STOP LOOKIN’ AT YOU

BRIAN

I JUST WANNA DANCE

BRIAN catches her hand – instant electricity. Her smile lights up the place.

FLINT(odd man out)

I’M RIGHT HERE

AND I CAN’T STOP LOOKING AT YOU

REBECCA

I JUST WANNA DANCE

It is as if she can actually see. Her dancing improves vastly over her turn with FLINT. She and BRIAN move together marvellously, as one. BRIAN never takes his eyes off her. They are beautiful to watch.

BRIAN

I WANT YOU TALKING TO ME

DON’T WANT YOU LOOKING AT HIM

REBECCA

WHY DON’T YOU TALK TO ME?

MEMBERS

TALK TO ME…ETC.

FLINT

I WANT YOU TALKING TO ME

DON’T WANT YOU LOOKING AT HIM

REBECCA

WHY DON’T YOU TALK TO ME?

BRIAN

ALL I WANNA DO IS ASK YOU

IF YOU FEEL THE SAME AS I DO

The MEMBERS get into it.

TUBBS

Hey, little Poncho, more ginseng for th’ old bagpipe, whadda say?

ISAAC crawls back under the Kingdom House. BETSY takes note.

BRIAN, REBECCA, FLINT (with TUBBS and ISAAC)

COME A LITTLE CLOSER BABY

SO I DON’T HAVE TO SAY IT

COME A LITTLE CLOSER BABY

SO I DON’T HAVE TO SAY IT

BRIAN takes REBECCA’S hand and guides her away from FLINT.

BRIAN

I’M RIGHT HERE

REBECCA

I’M RIGHT HERE WITH YOU

BRIAN

WITH YOU

Delicately, tremulously, they dance. The MEMBERS watch. FLINT stalks around the circle, arms behind his back. SHIRRONDA offers to dance with him. He rejects her.

REBECCA

I’M RIGHT HERE

BRIAN

RIGHT HERE

REBECCA

AND I CAN’T STOP

FLINT

I JUST WANNA DANCE

BRIAN

CAN’T STOP

REBECCA

LOOKING AT YOU

FLINT

I’M RIGHT HERE

BRIAN

I’M RIGHT HERE

FLINT

AND I CAN’T STOP LOOKING AT YOU

BRIAN

AND I CAN’T STOP, I CAN’T STOP LOOKING AT YOU

REBECCA

I JUST WANNA DANCE

FLINT stands by himself, left out, embarrassed and upset.

BRIAN

I WANT YOU TALKIN’ TO ME

DON’T WANT YOU LOOKIN’ AT HIM

REBECCA

WHY DON’T YOU TALK TO ME?

FLINT moves off the ‘dance floor’ and joins BETSY on the porch of the Kingdom House.

FLINT brings the cane down a second time. ISAAC makes no sound. He has passed out.

BRIAN’S fingers splay. A fierce wind whips though the square, blowing up scarves, skirts, leaves, hair, etc. FLINT raises his cane for the third time.

FLINT

In the Name of the Holy…

He is interrupted by a deafening thunderclap, followed by a bolt of lightening. His arm-with-cane remains upraised, stiff overhead. He cannot move it. The MEMBERS also have their arms lifted, in parallel.

BRIAN’S arms quiver as FLINT’S arm bends backwards, grotesquely. He is screaming, but all we can hear is thunder and wind. The MEMBERS are left alone, unhurt, but everyone remains immobilized, freeze framing the patterns of skirts, hair, leaves, etc.

An OWL lands on the WIDOW’S WALK (a railed, rooftop landing on top of the Kingdom House for the purpose of observing approaching strangers). The OWL flaps his wings and, in a puff of smoke, transforms into ROSE.

A bolt of lightening leaps from her hands and strikes the ground in front of BRIAN, breaking the spell. ROSE disappears in a burst of white light. BRIAN collapses backwards on top of TUBBS.

FLINT, his pain increasing his rage, continues beating ISAAC mercilessly. REBECCA feels her way over to them.

REBECCA

Father, stop!

FLINT continues. He is obsessed.

REBECCA

You’re killing him!

FLINT’S arm drops. He gives the cane to BETSY who wipes the blood off on her dress. FLINT smiles weirdly, as if after sex.

FLINT

Yes, daughter?

BRIAN (to TUBBS)

So it’s true, everything you said.

TUBBS

‘A Perfect and Holy Vision of the Putrid.’

REBECCA falls to her knees.

REBECCA

I respect your wisdom, my Father-In-Heaven, and your courage in bringing us the Punishment. Have mercy upon us.

FLINT

Have mercy upon us all.

MEMBERS

AMEN.

BRIAN looks to the Widow’s Watch, shaking his head, backing up. He EXITS, into the forest.

TUBBS watches FLINT and BETSY walk right over the trap he set earlier, but nothing happens to them. They do not fall in. BETSY jumps into FLINT’S arms.

BETSY

I love you, Judge.

He bounces her. The surface of the trap gives way, but only a little. They walk safely inside the Kingdom House.

The MEMBERS disperse. REBECCA carries ISAAC into the Kingdom house. He is unconscious. TOMMY is leading her.

TUBBS, weak from horror, whiskey and pot, climbs out of the wheelbarrow and tests the trap. He jumps up and down on it cautiously. Then hard. It collapses. He falls through.

BLACKOUT

SCENE 9

SUGANBUSH – NIGHT

Under ISAAC’S Big Tree is a white linen table setting, a WAITER with a donkey’s head, a STRING QUARTET, flowers and wine.

The QUARTET plays an instrumental arrangement of “I WANT TO BE LOVED”.

A single candle is lit at the center of the table and a lavender tube of light shimmers upward into the night sky.

ROSE is seated at the table. She is part human, part earth. The roots of trees and plants circle her forearms and waist like living belts and bracelets. Moss covers her body. Dewdrops glimmer like a diamond crown on her head.

BRIAN appears. He has been running hard. He is exhausted and collapses face down on the forest floor. ROSE, non-plussed, takes a sip of wine.

ROSE

Why hello.

BRIAN

Go ahead. Blame me. I did everything I swore I wouldn’t do.

ROSE(compliments to the waiter)

Delicious.

BRIAN

You saw what he was doing. It was out of the Dark Ages.

ROSE

My hero.

BRIAN

That kid hadn’t done anything. He’s just a boy.

ROSE

Judge, jury, prosecutor, executioner.

BRIAN

Why did you stop me? To save him? That sick fuck?

ROSE

Have some dinner, dear. You must be exhausted.

ROSE pats her mouth with a napkin.

ROSE

Isn’t the music lovely?

BRIAN

You promised to walk me through this.

ROSE(hissing rage)

You never listen, do you? You always have to have it your way. What makes you think you have a monopoly on the truth? You jam your juvenile, arrogant, egotistical emotions right down everyone’s throat!

(sarcastically)

Brian the Great. Brian the Saviour. Brian the All-Powerful.

BRIAN

I love her.

ROSE

Oh? Like Sarah? She does look like Sarah.

BRIAN

That’s a coincidence.

ROSE

It’s a pattern.

BRIAN

This is different.

ROSE

Another sacrifice? Another victim? Nothing different about it.

BRIAN

I love her. I know it. It is different this time, I swear. How can she be with that that perverted man?

ROSE, disappearing her ensemble with a simple wave, grabs him by the scruff of the neck.

ROSE

Cut the crap, Brian. You’re as demented as he is and you know it. And he knows it. That’s why he’s flipping out. What you don’t know is that if you ever pull a stunt like that again, without consulting me, you will lose everything – do you understand? And it will take all I’ve got to stop you. I have my good days, but I’m telling you now, flat out, there’s not a whole lot left.

BRIAN

What are you saying?

ROSE(dead serious)

Read my lips, white boy. You can’t use magic to control Rebecca. You can’t use magic to mess with her old man. If you do it will backfire. Now tell me again, for real. Do you want that girl?

BRIAN looks straight into her eyes with his whole heart.

ROSE

Then you’re going to have to sweat this one out. You can’t seduce her. You can’t kiss her. Not even once. Not even so much as a brush of the lips. Not even the thought of it.

He looks away.

ROSE

You will not kiss Rebecca!

BRIAN

And if I do?

ROSE

She will die.

BRIAN

You’re joking.

ROSE(with compassion)

The only way to win her heart is to help her see who that man really is and what he is trying to do. She has to see it for herself.

BRIAN

But it’s so obvious.

ROSE

Not to Rebecca. Not to any of them. They’re as lost and broken hearted as you are. He’s all they’ve got. And I’m all you’ve got.

BRIAN

Then how?

ROSE

We’ll set a trap. One he can’t wriggle out of.

(whispering in his ear)

We’ll use the trees. We’ll get to him through the trees!

ROSE rolls her eyes with delight.

ROSE

I’m a genius!

(whispering)

But you have to give me your word on that other thing.

BRIAN

(whispering)

Okay. I swear. But why are we whispering?

ROSE (whispering)

We’re not.

(loudly)

Never mind about that.

(whispering again)

Here’s what we’ll do.

She places her hand on his forehead.

ROSE

Far from the Light…

BRIAN places his hand on top of hers, smiling in remembrance.

BRIAN

…far from the Sound.

TOGETHER

…fox in the night chasing the hound.

They transform into FOXES. One has a Mohawk of bright red hair. The other is younger, friskier. They sniff and bark and shoot off into the brush.

SCENE 10

TOWN SQUARE – DAY

LIGHTS UP ON

int. flint’s office (CUT AWAY IN KINGDOM HOUSE)

The room is small and uncluttered. His hat hangs on one wall. His desk is set up in front of his window so that, when working, his back is up against the window. His arm is in a sling.

Outside the window is an alley with the wall of the Kingdom House on one side and the wall of the Candy Store on the other. At the end of the alley is the Town Square. TOMMY is filling up TUBB’S hole with dirt.

FLINT is on the phone.

FLINT

Why yes. I think you’ll find our books in order. We are a non-profit as of course you are well aware. Faith based as they say in Washington.

(grimacing)

Oh really? When might you be coming up?

(beat)

Yes. Naturally. More than welcome. Just give us a ring.

(beat)

And to you as well.

He hangs up, redials.

FLINT

Mr. Carson? Judge Flint here.

(beat)

Un huh. That property you’d mentioned to me? We might be interested in a move.

TUBBS appears in the alley. He is travelling back and forth between the Kingdom House and the Candy Store. Each trip he carries a new object. First a ladder, then a box of tools, a saw, etc.

FLINT swivelling in his chair, sees TUBBS for the first time.

FLINT

I see. Yes. That sounds terrific. Give us a few days to think this all through.

(beat)

Uh huh.

TUBBS is struggling with a sack of cement. Halfway between the two buildings he decides to shift the sack from one shoulder to another.

FLINT

One never knows, does one, when life begins to turn that unexpected corner and blows up…

TUBBS farts.

FLINT

(grossed out)

…in your face, so to speak. Could you hold on a second?

He puts his hand on the receiver.

TUBBS is on top of the ladder, which he has leaned against the side of the Kingdom House. He is banging away at the drainpipe. He hits his thumb with the hammer.

TUBBS

Shostokovitch!

The drainpipe falls, hits him in the head. He drops the hammer. Rubs his head. Looks around. Decides to urinate. The stream splashes the wall of the Kingdom House.

FLINT

Mother of God.

(back on the phone)

Mr. Carson?

(beat)

Never mind. It’s not important. The point is, sir, with perhaps a few more of the…ah…details pencilled in we can make a judgement in a matter of days.

A fly buzzes around FLINT’S head. He grabs it with his sore arm. Winces. He examines it.

FLINT

Yes. Please forward those figures right away.

(pinching it to death)

Thank you.

He flicks the insect like a spit ball. Hangs up the phone.

LIGHTS DOWN ON FLINT’S OFFICE

LIGHTS UP ON

CANDY STORE (CUT AWAY) – DAY

Tall glass jars sit on rough pine shelves and counters. They’re filled with cans of maple syrup, maple sugar candy and baked goods. Fluffy white curtains decorate the windows. An old fashioned cash register is set up on a stool.

The Town Square is empty. A FOX is sneaking around the corner of the building. BETSY appears, walking across the lawn. She sees the FOX.

She picks up a rock and throws it, hitting the fox in the ass.

BETSY

Gotcha!

She skips away.

ENTER REBECCA

A bell jiggles as the door opens. She knows the place well enough to move around unaided.

REBECCA

Isaac? You in here?

No reply.

ENTER

TOMMY.

TOMMY

Sister!? You gotta come quick. It’s Isaac. He’s hid out under the Sugarhouse!

REBECCA

You sure about this?

TOMMY

If the Judge finds out he’ll get beat on all over again.

(beat)

He’ll come out for you.

REBECCA(holding out her hand)

Hurry!

TOMMY leads her out the door.

ENTER

BRIAN, rubbing his rear-end.

He checks out the store, lifting the top of one jar, sniffing a pie, trying a dance step, laughing.

BRIAN(acapella)

I WANT YOU TALKING TO ME

DON’T WANT YOU LOOKIN’ AT HIM…

He sticks his finger in a cherry pie, pulls it out, brings it to his nose and, about to lick it clean, stops.

ENTER

BETSY, pushing the squeaky screen door open with one hand.

BRIAN

Caught me with my pants down.

BETSY

Like I care. What are you doing here anyways?

BRIAN licks his finger clean.

BRIAN

Just down for the day. Checking things out.

BETSY

You gonna be around long?

BRIAN

As long as it takes.

BETSY

As long as what takes?

BRIAN

Sorry. Guess I was just being smart.

BETSY

That won’t do any good with me. I’m not stupid. I got Permission.

BRIAN

To do what?

BETSY

I get to tell if kids are bad.

BRIAN

That must hurt a lot.

BETSY

No sir. It makes me feel big.

BRIAN

I mean it must get lonely, being the one to rat on people.

BETSY

I like it very much, thank you. It’s God’s work.

BRIAN

Maybe you can help me.

BETSY

I won’t help you with anything.

BRIAN

What is this Kingdom of yours up to anyhow? I mean for real. What good does it do?

BETSY(self-righteously)

We follow the Path. We follow Sweet Jesus. We…

BRIAN

Beat up on kids?

BETSY

It’s not what you think. A lot of folks up here’d be in big trouble somewheres else. The Reverend keeps ‘em in line.

TOMMY(off-stage)

Hey, who left the door open?

ENTER

TOMMY, REBECCA and ISAAC. ISAAC looks weak. He walks painstakingly. He brightens when he sees BRIAN.

After a beating nobody gets sweets. We must suffer Punishment together.

BRIAN

Including me?

TOMMY

Nah. You get whatever you want.

BETSY

You’re not one of us.

BRIAN

I might want to be.

BETSY

Like that’s gonna happen.

BRIAN

And if I get you some candy?

REBECCA

That wouldn’t be right. Whose side do you think I’m on anyway?

BRIAN

I wasn’t asking you to choose. Just to have some fun.

BETSY

We ain’t supposed to have fun.

He rubs his hands together. He hops on one foot, claps once and digs into his pockets. He produces a huge piece of maple sugar candy.

TOMMY

No way.

BETSY(crossing herself)

I smell a rat.

ISAAC

Sweet.

BRIAN

See what you got.

REBECCA

What are you guys up to?

BETSY

That’s what I’d like to know.

TOMMY and ISAAC check their pockets.

TOMMY & ISAAC

Nuthin’.

BRIAN

You just gotta learn how.

(to REBECCA)

I’m just gonna teach ‘em some old-fashioned parlour tricks.

BRIAN spins on his heels, snaps his fingers, hops on one foot and claps. He reaches into his pocket and produces a giant piece of candy.

ISAAC

Lemme at it!

He and BRIAN spin together on their heels, snap their fingers, hop on one foot and clap.

He pulls a fat piece of candy out of his pockets. TOMMY does the same. Same result.

ISAAC

You the bomb!

BRIAN

THERE’S A REASON FOR IT

OH OH OH

THERE’S AN ANSWER

ALL

WOAH OH OH YEAH AH AH

THERE’S A REASON FOR IT

OH OH OH

THERE’S AN ANSWER

WOAH OH OH YEAH AH AH

They dance the Magic Candy Dance. BETSY does not participate. She is furious.

ALL(taking turns)

TAKE A LEFT

TAKE A LEFT

TAKE A RIGHT

TAKE A RIGHT TURN

DO THE BACKSTROKE

DO DO DO DO

WHAT DID YA LEARN?

BETSY

This is disgusting.

ALL

TAKE A LEFT

TAKE A LEFT

TAKE A RIGHT

TAKE A RIGHT TURN

DO THE BACKSTROKE

DO DO DO DO

ISAAC

WHAT DID YOU LEARN? YA YA YA…

BETSY

This is witch stuff.

REBECCA

Don’t be so harsh, Betsy. It’s just sleight-of-hand, is it not?

BETSY

You’re a swell judge of that.

She leaves, banging the door behind her.

BRIAN

Let her go. I mean no harm. No harm will come.

TOMMY & ISAAC

Do it again!

They repeat the whole business.

ALL

THERE’S A REASON FOR IT

OH OH OH

THERE’S AN ANSWER

WOAH OH OH YEAH AH AH

THERE’S A REASON FOR IT

OH OH OH

THERE’S AN ANSWER

WOAH OH OH YEAH AH AH

TAKE A LEFT

TAKE A LEFT

TAKE A RIGHT

TAKE A RIGHT TURN

DO THE BACKSTROKE

DO DO DO DO

BRIAN

WHAT DID YOU LEARN?

ALL

TAKE A LEFT

TAKE A LEFT

TAKE A RIGHT

TAKE A RIGHT TURN

DO THE BACKSTROKE

DO DO DO DO

REBECCA

What did you learn?

Their dance and voices show a new side to them, as if for the first time their ‘power’ derives not from the Kingdom, or from JUDGE FLINT, but from themselves.

ALL

COMES FROM YOU

COMES FROM ME

COMES FROM YOU

COMES FROM ME…ETC.

ISAAC

AND IT COMES FROM ME

All clap and stomp as BRIAN and ISAAC take out their harmonicas and jam. ISAAC’S instrument is a beat-up old thing, but he’s a pro. BRIAN, still the novice, plays awkwardly and then, inspired by ISAAC, quite well. REBECCA and TOMMY dance.

FLINT, banging through the door. BETSY is right behind him. FLINT has his arm in a sling.

FLINT

What’s going on around here?

BRIAN

Hey Judge, hurt yourself?

FLINT

Morning to you.

(sweetly)

Isaac? Rebecca? What are these pernicious rumors I hear about the Sugarhouse? No one is allowed down there except for me. That’s the Rule, is it not? Have we forgotten?

REBECCA

I found Isaac asleep here…in the store this morning.

FLINT

You don’t say.

BETSY

Who cares about that? Nobody in their right mind goes down there. What about the candy!

FLINT(to REBECCA)

Were we being generous again, my dear?

REBECCA

The store is exactly as I left it.

She ‘looks’ at BRIAN.

BRIAN

God’s truth.

BETSY

That’s a flat out lie!

BRIAN

Just check it out, Mr. Flint. I for one, don’t eat sugar. Bad for the arteries.

TOMMY hangs his head. BETSY singles him out. He’s petrified.

BETSY

Look in his pockets! It’s in there, I swear.

TOMMY backs up.

TOMMY

Nuh uh.

FLINT smacks his cane on the floor.

FLINT

Don’t you dick around with me, boy.

TOMMY puts his hands over his head. FLINT, raising his cane with his good arm, moves in for the kill.

REBECCA

Honestly, father, there’s nothing…

FLINT(turning on her)

You will not contradict me!

REBECCA(bows her head)

I’m sorry.

BRIAN snaps his fingers twice. Clicks his heels.

FLINT(to tommy, holding out an open palm)

Let’s have it.

TOMMY

I ah…

(perplexed)

…don’t have nothin’, sir.

ISAAC searches himself.

ISAAC

Me neither.

REBECCA is stupefied.

BRIAN

Perhaps little sister is making the whole thing up.

BETSY

You think so, huh? I’d like to get you in court.

FLINT

Little sister does not lie. She has Permission.

MEMBERS(outside, distant chanting)

AY OH, AY OH, AY OH, AY OH…etc.

BETSY’S eyes pop open. She looks down at her hands and opens them to discover two big chunks of candy. She quickly hides them behind her back.

BETSY

I don’t get it.

BETSY stares at BRIAN, horrified.

BETSY

Oh my God!

ISAAC

She got it! She got th’ goods!

BETSY hurls the evidence on the floor, turns and runs out of the store. FLINT follows.

FLINT

We’ll get to the bottom of this.

He stops, turns, takes them in, sensing a wrongdoing.

FLINT

I promise.

EXITS.

TOMMY(sing song)

She’s gonna get it.

The triangle is rung.

BRIAN

Not again?

REBECCA

He’s over-reacting. Everyone is over-reacting.

TOMMY

We better get a move on.

BRIAN

I don’t understand you people. You punish kids for being kids?

REBECCA

It’s not how it looks. It’s hard to explain.

BRIAN

Try me.

They look at each other.

ALL(sadly)

We follow the Path. We follow Sweet Jesus. We follow the Lord. We live in a…

BRIAN

…sick place.

REBECCA

There are people here who were dying, literally dying, on the street. My father took them in. He gave them something to believe in. He set limits. He forgave. He comforted.

BRIAN

Trying to give you guys a clean shot. OK. But now Betsy’s in the doghouse.

REBECCA

He’s not perfect. None of us are.

BRIAN

I’ll make this up to you. All of you. Can ya come up the mountain later?

ISAAC

For sure…

REBECCA

Of course not.

(SIMULTANEOUSLY with ISAAC)

We are in Punishment.

She holds out her hand. TOMMY takes it and leads her out the door.

BRIAN

You remember, Iz? Where the rock is?

ISAAC winks. BRIAN calls after REBECCA.

BRIAN

At the first star.

REBECCA(outside)

Don’t be late, little brother.

ISAAC

I’ll run her up there to ya somehow.

BRIAN touches ISAAC’S shoulder.

ISAAC

Ow!

BRIAN

Pretty sore, huh?

ISAAC

Duh.

BRIAN

He’s got something on you, doesn’t he?

ISAAC

Who?

BRIAN

Flint. He’s put some kinda scare into all of you.

ISAAC shakes his head sadly.

BRIAN

Tell me about it.

ISAAC

I gotta go.

OFFSTAGE we hear the drum roll, AY OH AY OH…etc – the set up for the whipping post.

ISAAC

I ain’t supposed to say nothin’. I ain’t no traitor.

BRIAN

Let me paint you a picture.

BRIAN places his hand on ISAAC’S forehead. ISAAC backs away.

ISAAC

Cut it out!

BRIAN

Trick I learned a long time ago. When I was your age.

BRIAN takes out his harp and plays. The simple melody brings a reluctant smile to ISAAC’S face.

BRIAN moves his free hand above ISAAC’S head, as if he is the puppeteer and ISAAC the marionette. He pockets the harmonica.

OFFSTAGE the whipping ritual is muted. BETSY’S first scream is all the more frightening for being distant as BRIAN’S magic takes hold.

BRIAN

This is between us.

ISAAC

This is gay.

BRIAN places his forehead on ISAAC’S.

BRIAN

Like water into a glass.

ISAAC

Like lies into a lie detector.

(getting into it)

Okay, boss, I give up. Make it so.

TABLEAU or FILM PROJECTION:

The sound of a million crickets.

A flickering, stroboscopic, grainy, black and white ‘docmentary’ of what ISAAC remembers is acted out against the whitewashed wall of the candy store.

int. room – night

Through boarded-up windows we hear the hive of activity outside: A police captain shouting orders on an electric megaphone, the hubbub of a gathering crowd, etc. Searchlights penetrate the cracks in the windows and stab light into the room.

REBECCA is climbing down a homemade ladder through a trap door and into a dark tunnel. ISAAC stands above her.

In the room, faintly illuminated by the filtered light, is a small group of men, women and children tied to chairs. They are fervently praying.

BETSY, prompted by FLINT, is wrapping duct tape around their arms and legs. Plastic explosives are strapped to their bodies.

FLINT(in a hurry)

You are the Chosen. You are the Ones Who Came Before us. You are the Saviours and the Sacrifice. It is you who enter the Kingdom of Heaven. You are blessed and our blessings go with you tonight and always – the Best, the Bravest and the Sure.

A little GIRL is holding a doll. She is crying.

BETSY throws her arms around AN OLDER WOMAN strapped to a chair. FLINT pulls her off. They follows REBECCA down the ladder into the tunnel, dragging ISAAC along behind her.

FLINT makes the Sign of the Cross on the OLDER WOMAN’S forehead with his thumb and dives down the ladder, pulling the trap door shut after him.

A teargas grenade lands on the floor. MEMBERS of a SWAT TEAM crash through the door. The little GIRL cries hysterically.

The TABLEAU ‘explodes’. The ACTORS vanish.

BRIAN

He made you do that?

ISAAC(near tears)

It’s okay. I’m okay.

BRIAN

But why?!

ISAAC

We had t’ get outa town in a hurry. The pigs was catchin’ up to us and those guys was bait. They wanted t’ be found dead. No fingerprints. They had do it and they wanted to do it. Plus, they get t’ go t’ Heaven.